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Peu d’artistes mais un travail bien pris au sérieux. STOP THE TEMPO sera interprétée par trois acteurs, deux filles et un garçon. Il s’agit de Laura Scheilla , Claudia Munyengabe et Junkers Ntwari.

Adaptation théâtrale du récit "Dix jours en terre ceinte" de Bernard Bloch, "Le Voyage de D.Cholb" vous conduit en un voyage sur les routes de : à découvrir à mardi 19 février à 20h au de la

Visit Essex "RT TheatreSouthend: It's a 4.5 ⭐️ for BKL_Productions The Lady Vanishes playing all this week SouthendTheatre Palace SouthendTheatre "

Leaping into technical rehearsals for here at . Performing at ARC on Thursday then down to London’s 13-17 Feb

Are you looking for a change of career or a new creative project? Check out ArtConnected for all the up-to-date opportunities in the creative sector:

And scene! 🎬 ⭐ Our year 9 students have been exploring at ! We created our own performances and discovered the jobs and options available in the arts! ☄

Hier, près de 550 jeunes collégiens ont suivi les aventures de Stanley et Yelnats aux 3T. Après les représentations scolaires, Fiona et Guillaume les comédiens ont répondu à toutes les questions que se posaient les jeunes spectateurs.

68 incredible creative opportunities in 28 locations across the UK! From summer internships to paid traineeships & permanent roles, there's something for everyone. Head to the website now:

If you're looking for an exciting place to be this summer then The Arches Theatre is it! We're a new just outside & we have a jam packed August with fantastic productions from local & professional theatre groups:

On 2/22 and 2/23, see Still Inspired(?) showcasing 4 dances and 4 choreographers who attempt to share visions within the realm of art between “still” and “live”. Inspired by local Chicago visual artist, !

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Me: Ok let’s do some work

Also me:

Originally posted by thenwedied

is it just me or do you hate singing out of character. hear me out. i have an audition for this choir in my area and i have to send it tonight by midnight (i might wait till next month because i’m nowhere near ready) but i won’t be home till eight thirty tonight plus homework so i might record the audition at school during lunch or after school, i’m scared of people hearing me or sounding bad. i will belt out a solo opening night but is it just me or does the fourth wall make you more comfortable and secure

“Give me clouds and rain and gray

Give me pain if that’s what’s real

It’s the price we pay to feel”

-Natalie and Henry, Light, Next to Normal


January 22, 1923

Starting on January 1, 2019, all published works (except sound recordings) copyright 1923 enter public domain.

Dagmar is a drama in two parts by Louis Anspacher based on a play by Ferencz Herczeg. The play is set at a European resort.  The play concerns a Countess (played by Nazimova) who leaves one man for another and pays the ultimate price.  

Under the direction of Iden Payne, it played at the Selywyn Theatre for 56 performances. It then moved uptown to the Shubert-Riveria Theatre, part of Broadway’s subway circuit.  

“’Dagmar’ is just plain boring. It is exactly the boarding-school girl’s idea of a drama of passion.” ~ Dorothy Parker

CAST (5F 4M)

Alla Nazimova (Countess Dagmar) was a Russian actress who emigrated to the United States in 1905. By 1918 she was a box-office star for Metro Pictures and completed 11 films for the studio over a three-year period. A torrid, stylish and rather outré tragedienne who played exotic, liberal women confronted by great personal anguish. Performing under a singular moniker, Dagmar was intended to hail her return to the stage. Broadway’s 39th Street Playhouse was originally known as The Nazimova Theater. She became a US citizen in 1927 and died in 1945.  


Selwyn Theatre (227 West 42nd Street) opened its doors in 1918. By 1934, it was showing movies. In 1950, a unique policy was introduced: a sixty-minute play to precede each screening. Traditional double features quickly took over, lasting into the 1990s, when the theatre fell into the hands of The New 42nd Street. Roundabout Theatre signed a long-term lease and renovated the theatre renaming it the American Airlines Theatre in 2000.  

The production later moved uptown to…

The Shubet-Riviera Theatre (2575 Broadway at 97th Street) was built in 1913 but was soon leased to the Shubert Brothers. It contained a separate upstairs theater called the Japanese Gardens which, along with their “sister” theatre, the next-door Riverside Theatre were part of the “Subway Circuit” of legitimate venues during the Golden Age of Broadway. The Shubert-Riviera had 1718 seats and a Moller organ. The Riviera later became a United Artists movie theater. All theatres were demolished and replaced by an apartment tower.


I’ve recently opened another online store where you can buy products with theatre-themed designs!


I’ll be adding new designs daily so keep checking back xo

Also, please message me with shows/themes you’d like to see designs of!

kk so i have to read this essay on directing for my directing class and i’m about ten seconds away from going feral, two pages in! Why? it’s about violence and its role in creating art. the violence of taking away choices, of perfecting repitition, of who the fuck cares what else. and like this essay is eighteen years old, but I am so goddamn sick of the whole violence is needed to make art/is what makes art good/makes art culturally significant

and this essay specifically pertains to directing for the theatre, but the quote that;s making me go feral is: “Art is violent”. talk about a broad generalization. all art is violent. it fucking reminds me of those assholes on here who say if van gogh hadn’t taken his anti-depressants we would have more ‘real’ art from him when that is totally opposite of what would have happened

art has this amazing capacity for healing - i literally reblogged a comic by alison bechdel about how healing it was for her to see fun home on stage - a (albeit very dark) musical about her own fucking childhood. we as a society place so much stock in what violence has been inflicted upon us as what makes an experience worth listening to. think about all the stupid fucking war flicks we have. we judge so much on how well we can pull the violence from it and i have no fucking idea if anyone can read this at this point because i don’t know if i’m being coherent, but i am so sick of art having to be painful to the artist or the viewer or anyone else for that matter. Just let art, theatre, everything be healing, be peaceful, be powerful. anything but violent. 

Monday, January 21, 2019

Hair rehearsals have been killing me.  I slept in until after 10:00 today because it’s a school holiday.  On one hand I caught up on my sleep.  On the other hand I was not very productive today because of it.

- Tidied my room.
- Finished the Biblical book of I Corinthians.
- I lost my streak on Duolingo yesterday so I started a new one today.
- Read ‘The Stage Manager’s Toolkit’ for my stage management class and email my professor to clarify an assignment.
- Made some notes of changes in my copy of the ‘Hair’ script.

sometimes i feel really bad about being the shy one in my relationship because like, i feel like she thinks i don’t like her when really i’m just scared as hell :).

but anyway we have a terrible fucking drop system at school that has a minute and a half turn around which just won’t work for our next show, so my moms friends who do rigging are gonna help us rig essentially a curtain pull for the drop on a utility bar that we can fly up! so that’s fun and funky fresh